Architect: HASSELL + Herzog & de Meuron Significance:
The winning proposal for the Flinders Street Station competition comes from HASSELL + Herzog & de Meuron. The design integrates the station with the surrounding urban context, which has evolved and changed significantly since the building was designed 100 years ago. The station concept draws from many aspects – the site’s historic fabric, location, and linear nature; the original 19th century design and existing heritage fabric; the river and city edge, rail, public and river-based operations as well as the station’s place within the city fabric and public realm.
This proposal updates the station for the 21st Century, turning it from a place to hurry through to a destination. The overall design merit of the proposal can be seen in a new, major public art gallery, public plaza, amphitheatre, marketplace, and a permanent home for arts and cultural festival organizations. But they have also delivered the glory of the first 19th Century design for Flinders Street Station.
Fig42:Platform
Fig43:Urban promenade
Fig43:Cultural centre
4.1.2 Rotterdam central station:
Architects: West 8, Benthem Crouwel Architects, MVSA Meyer en van Schooten Architecten
Location: Stationsplein 1, 3013 AJ Rotterdam, The Netherlands
Lead Architects: Jan Benthem, Marcel Blom, Adriaan Geuze, Jeroen van Schooten Design Team: Arman Akdogan, Anja Blechen, Freek Boerwinkel, Amir Farokhian, Joost Koningen, Joost van Noort, Falk Schneeman, Daphne Schuit, Matthijs Smit (†), Andrew Tang, Wouter Thijssen, Joost Vos
Area: 50,000 sqm Year: 2013
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Fig43:drawings
4.1.3: Multi-Modal Passenger Terminal By Fxfowle Architects:
Description: FXFOWLE’s design for the Georgia Multi-Modal Passenger Terminal (MMPT), completed in 2013, was developed in association with Atlanta-based Cooper Carry
Associates.MMPT creates a new regional and metropolitan transportation center, and a master plan for 119 acres of downtown Atlanta.This critical piece of infrastructure integrates service for 10 passenger train platforms, including commuter rail and high-speed rail, and 80 bus bays for local, regional and inter-city buses in a single station.
Description: As part of an international competition, 1982-83, to revitalize the abandoned and undeveloped land from the French national wholesale meat market and
slaughterhouse in Paris, France, Bernard Tschumi was chosen from over 470 entries including that of OMA/Rem Koolhaas, Zaha Hadid, and Jean Nouvel. Unlike other entries in the competition, Tschumi did not design the park in a traditional mindset where
landscape and nature are the predominant forces behind the design [i.e. Central Park].
Rather he envisioned Parc de la Villette as a place of culture where natural and artificial [man-made] are forced together into a state of constant reconfiguration and discovery.
For Tschumi, Parc de la Villette was not meant to be a picturesque park reminiscent of centuries past; it was more of an open expanse that was meant to be explored and discovered by those that visited the site. Tschumi, wanted the park to be a space for activity and interaction that would evoke a sense of freedom within a superimposed organization that would give the visitors points of reference. As part of Tschumi’s overall goral to induce exploration, movement, and interaction, he scattered 10 themed gardens throughout the large expansive site that people would stumble upon either quite literally or ambiguously. Each themed garden gives the visitors a chance to relax, meditate, and even play.
Parc de la Villette is designed with three principles of organization which Tschumi classifies as points, lines, and surfaces. The 135 acre site is organized spatially through a grid of 35 points, or what Tschumi calls follies. The series of follies give a dimensional and
organizational quality to the park serving as points of reference. The repetitive nature of each folly, even though each one is unique and different, allow for the visitors to retain a sense of place through the large park.
Tschumi’s lines are essentially the main demarcated movement paths across the park.
Unlike the follies, the paths do not follow any organizational structure; rather they intersect and lead to various points of interest within the park and the surrounding urban area.
Of the 135 acres, 85 acres are dedicated to the green space, which are categorized as surfaces. The large open green spaces give Parisians space to interact, play, relax, and gather. The open space is typically used for large gatherings and even in the summer it becomes a large open air cinema.
Even though most traditional picturesque parks are unprogrammed and usually mean for user definition and interpretation, there is usually still some semblance of desired activity.
However, Tschumi’s Parc de la Villette is conceptualized as one large user-defined space that is completely open for interpretation. Each of the deconstructivist follies are centers for informal program. Although each folly is unique and formally different, there is no
designated program just a space that can harbor activity. It’s only until recently that some of the follies have been converted into restaurants, offices, and information centers for the park.
Parc de la Villette is often criticized as being too large being designed without consideration for the scale of a human, and argued to be exist within a vacuum as it does not take the history of the site or the surrounding context into consideration. However with such a large site and the scale seemingly to be out of touch with the human, it becomes an analytical and conceptual approach to the way a human feels within a larger urban setting. The park is almost a perverse reiteration of urban life where the human is caught in the relentlessly overwhelming milieu that removes humanistic sensibility to accommodate for larger numbers of people. Only when a visitor stumbles along a folly or a garden is the scale reduced and the visitor is able to reorient themselves within the larger context. As with the Tschumi’s Manhattan Transcripts (1976-1981), Parc de la Villette seems to be a critical manifestation of urban life and activity where space, event, and movement all converge into a larger system.
Fig44: Detail Design of Parc de la villete
history of its previous Pavilions. Eleven columns characterising each past Pavilion and a twelfth column will support a floating platform roof 1.5 metres above ground. Taking an archaeological approach, the architects have created a design that will inspire visitors to look beneath the surface of the park as well as back in time across the ghosts of the earlier structures.The Serpentine Gallery Pavilion will operate as a public space and as a venue for Park Nights, the Gallery’s high-profile programme of public talks and events. Connecting to the archaeological focus of the Pavilion design Park Nights will culminate in October with the Serpentine Gallery Memory Marathon, the latest edition of the annual Serpentine
Marathon series conceived by Hans Ulrich Obrist, now in its seventh year. The Marathon series began in 2006 with the 24-hour Serpentine Gallery Interview Marathon; followed by theExperiment Marathon in 2007; the Manifesto Marathon in 2008; the Poetry Marathon in 2009, the Map Marathon in 2010 and the Garden Marathon in 2011.
Description: In May 2003, James Corner Field Operations with Diller Scofidio + Renfro competed against 720 teams from 36 countries to win the infrastructure conversion project of the New York City High Line. More than half a decade later, the High Line’s transition to a public park is almost complete. On June 8th, architects, elected officials, and advocates watched as Mayor Michael Bloomberg cut the ceremonial red ribbon, officially announcing the opening of the first of three sections. The new park offers an alluring break from the chaotic city streets as users have an opportunity to experience an elevated space with uninterrupted views of the Hudson River and the city skyline.
The High Line, which is under the jurisdiction of the Department of Parks & Recreation, was the former West Side industrial railway. It is a 1.45 mile-long elevated, steel structure built in the 1930s for freight trains; the last train ran on it in 1980. Stretching across the west side of the city, it runs from Gansevoort Street, in the Meatpacking District, through the West Chelsea gallery neighborhood, and ends at 34th Street, next to the Jacob Javits Convention Center. In 2003, an open competition was held to convert the existing infrastructure into a public park.
The winning proposal by James Corner Field Operations with Diller Scofidio + Renfro
includes over a dozen access points to the elevated park. Whichever entrance is activated, a key component will attract users to spend time and explore the complete park. For
instance, enter a little past 14th St. and enjoy the sundeck and water feature; enter close to 23rd St. to lounge on the open lawn and seating steps; or enter past 26th St. to enjoy the viewing area.
4.2.4 Urban and space:
5.1 Programme rationale:
The programme of this project is divided into two category . One is the existing programme what is already there in farmgate but isn't serve the context requirement and another is a civic centre/ public gathering space which will act as urban breathing space .
Proposed project is a hybrid programme with office space, commercial/ shopping complex, vendor market, revitalize Ananda cinema hall and many more what serves the demand of Farmgate area. The traffic network system along with bus Station, Mrt station, Elevated pedestrian facility along with MRT station. Another proposal is to revitalize the park as event space. These programme is essential for serving the farmgate as a quality urban life.
Proposed projects in site:
• Farmgate CBD master plan
• MRT Station
• Bus station
Requirement of surrounding area:
• Park
• Elevated Pedestrian facility along with MRT station.
• Urban recreation centre (Theatre, Cineplex, public gathering space, event space)
• Amenity facilities for residential neighborhood
• Urban recreation centre (Theatre, Cineplex, public gathering space, event space)
• Revitalize the cinema hall.
• cultural facilities
Fig45: Government proposal for Farmgate
5.2 Concretizing events:
Fig 46: proposed events for Farmgate
Fig 47: Rethinking the programme
Programme is a guideline for a project development. But it's not the standard perimeter to work in urban context project. The programme should generate as a Autonomous effect from the contextual analysis. Rethinking the system of programme development, (Fig 47) the diagram shows how a project could be eventful as demand. Basically for a successful project there is need of a event (soul) of the program (body) which actually the factors what makes the space lively. For the non place context it is more needed to explore those event generating factors and design accordingly. If all those factors are considered while dealing with non place, then it must create dialogue with the place and the people.